This week we have just one new track. Usually that means something that's never been played on Stuck in the Psychedelic Era before. In this case, though, the track in question, which opens our Advanced Psych segment, is literally new, from the just-released album Persistence Of Memory by Dose Hermanos. There are 21 other tracks on the show as well, including an entire album side from the Pentangle in our final segment.
Title: For Pete's Sake
Source: CD: Headquarters
Label: Rhino (original label: Colgems)
It didn't come as a surprise to anyone who knew him that first member of the Monkees to depart the band was Peter Tork. Of all the members of the "pre-fab four" Tork was the most serious about making the group into a real band, and was the most frustrated when things didn't work out that way. A talented multi-instrumentalist, Tork had been a part of the Greenwich Village scene since the early 60s, where he became close friends with Stephen Stills. Both Tork and Stills had relocated to the west coast when Stills auditioned for the Monkees and was asked if he had a "better looking" musician friend that might be interested in the part. Although Tork was, by all accounts, the best guitarist in the Monkees, he found himself cast as the "lovable dummy" bass player on the TV show and had a difficult time being taken seriously as a musician because of that. During the brief period in 1967 when the members of the band did play their own instruments on their recordings, Tork could be heard on guitar, bass, banjo, harpsichord and other keyboard instruments. He also co-wrote For Pete's Sake, a song on the Headquarters album that became the closing theme for the TV show during its second and final season. Until his passing in February of 2019 Tork was involved with a variety of projects, including an occasional Monkees reunion.
Artist: Jimi Hendrix Experience
Title: Can You See Me
Source: Mono LP: Are You Experienced (UK version) (original US release: LP: Smash Hits)
Writer(s): Jimi Hendrix
Label: Experience Hendrix/Legacy (original US label: Reprise)
Year: 1967 (US 1969)
Before releasing the first Jimi Hendrix Experience album in the US, Reprise Records decided to make some changes to the track lineup, adding three songs that had been released as non-album singles in the UK and creating new stereo mixes for all the songs used on the US version of Are You Experienced. To make room for these, three songs were cut from the original mono version of the LP. The most popular of these three tracks was Can You See Me, a song that was included in the band's US debut set at the Monterey International Pop Festival in June of 1967. Despite the audience's positive response to the song, the band apparently dropped Can You See Me from their live set shortly after Monterey. The song was originally slated to be released as the B side of The Wind Cries Mary, but instead was used as an album track.
Artist: Moby Grape
Title: Come In The Morning
Source: 45 RPM single B side
Writer(s): Bob Mosley
Moby Grape's 1967 debut album has been called " the ancestral link between psychedelia, country-rock, glam, power pop and punk." Come In The Morning, written and sung by bassist Bob Mosley, provides the country-rock part. The song was also used as the B side of one of the five songs simultaneously released as singles to promote the album, a tactic that was seen by many as excessive hyperbole.
Artist: Bob Dylan
Title: From A Buick 6
Source: 45 RPM single B side (promo copy)
Writer(s): Bob Dylan
Although there were several unissued recordings made during the Highway 61 Revisited sessions, Bob Dylan and his producer, Tom Wilson, chose to instead use one of the already released album tracks as the B side for Positively 4th Street in September of 1965. The chosen track was From A Buick 6, a song that is vintage Dylan through and through.
Title: Black Hearted Woman
Source: Mono CD: The Best Of The Standells (originally released on Tower LP: Why Pick On Me
Label: Rhino (original label: Tower)
The Standells rose to prominence (and immortality) with the 1966 hit Dirty Water, which has gone on to become Boston's unofficial theme song (despite the fact that none of the Standells had ever been to Boston at the time the song was released). The band had actually been around since 1962, when they were formed as the Standels, a name derived from their habit of standing around booking offices hoping to find work. Their first recording was released on the Linda label in 1964 (as Larry Tamblyn and the Standells). New lead vocalist and drummer Dick Dodd, a former mouseketeer and member of the Bel-Airs (who had a hit with the instrumental Mr. Moto), joined shortly after the band signed with Liberty Records in 1964. The group bounced around from label to label over the next couple of years, eventually signing with Ed Cobb's Greengrass Productions, which had a deal with Capitol Records' Tower subsidiary. Following the success of Dirty Water they recorded the album Why Pick On Me (sometimes known as Sometimes Good Guys Don't Wear White). One of the strongest tracks from that album was Black Hearted Woman, a song that shows the Standells at the peak of their creative powers. The Standells also appeared in several B movies, including the 1967 cult classic Riot On Sunset Strip. Dodd left the Standells in 1968. The group continued on without him for a while, but never was able to duplicate their earlier success.
Title: Rael 1
Source: LP: The Who Sell Out
Writer(s): Pete Townshend
The Who Sell Out, released in December 1967, was the last album by the group before their 1969 rock-opera Tommy. The last track on the LP, Rael, is itself a mini-opera that tells the story of a wealthy man who has taken on the role of a crusader, out to free his ancestral homeland from its current occupiers. He tells the captain of his ship to come back for him on Christmas Day to see if he is ready to return. If not, he tells the captain, the boat is yours. Of course the captain has no intention of returning, as he declares soon after putting back out to sea. The piece then goes into an instrumental passage that would be copied pretty much note for note on the Tommy album as part of the Underture. The track ends with a repeat of the owner's instructions to the captain. The events surrounding the recording of Rael have become the stuff of legend. The band spent an entire day recording and mixing the song, and were apparently so exhausted at the end of the session that they left without securing the multi-track master in a safe place. The cleaning woman came in the next morning and tossed the tape into the waste basket. She then emptied the ashtrays and other trash into the same waste basket. When the band came in around noon the recording engineer who had found the tape had the unenviable task of telling them what had happened. Pete Townsend was in a rage, and the engineer tried to placate him by saying "these things happen". Townshend then proceeded to throw a chair through the glass wall separating the studio from the control room, informing the engineer that "these things happen".
Artist: Procol Harum
Title: Quite Rightly So
Source: CD: Shine On Brightly
In 1969, while living on Ramstein Air Base in Germany, my dad managed to get use of one of the basement storage rooms in building 913, the 18-unit apartment building we resided in. For a few months (until getting in trouble for having overnight guests and making too much noise...hey I was 16, whaddaya expect?) I got to use that room as a bedroom. I had a small record player that shut itself off when it got to the end of the record, which meant I got to go to sleep every night to the album of my choice. As often as not that album was Shine On Brightly, a copy of which I had gotten in trade for another album (the Best of the Beach Boys I think) from a guy who was expecting A Whiter Shade of Pale and was disappointed to discover it was not on this album. I always thought I got the better end of that deal, despite the fact that there was a skip during the fade of Quite Rightly So, causing the words "one was me" to repeat over and over until I scooted the needle over a bit. Luckily Quite Rightly So is the first song on the album, so I was usually awake enough to do that.
Source: Canadian import CD: 25 Years-The Ultimate Collection (originally released on LP: Arthur or The Decline And Fall Of The British Empire)
Writer(s): Ray Davies
Label: Polygram/PolyTel (original label: Reprise)
The Kinks were at their commercial low point in 1969 when they released their third single from their controversial concept album Arthur Or The Decline And Fall Of The British Empire. Their previous two singles had failed to chart, even in their native England, and the band had not had a top 20 hit in the US since Sunny Afternoon in 1966. Victoria was a comeback of sorts, as it did manage to reach the #62 spot in the US and the #33 spot in the UK. It would be eclipsed the following year, however, by the international smash hit Lola.
Title: Girl In Your Eye
Source: LP: Spirit
Writer(s): Jay Ferguson
Spirit was born in 1965 when drummer Ed Cassidy left the Rising Sons after breaking his arm and settled down with his new wife, who had a teenaged son named Randy. It wasn't long before Ed and Randy (who played guitar) formed a new band called the Red Roosters. The group lasted until the spring of 1966, when the family moved to New York for a few months, and Randy met an up and coming guitarist named James Marshall Hendrix. Hendrix was impressed with the teenaged Cassidy (whom he nicknamed Randy California) and invited him to become a member of his band, Jimmy James And The Blue Flames, that was performing regularly in Greenwich Village that summer. After being denied permission to accompany Hendrix to London that fall, Randy returned with his family to California, where he soon ran into two of his Red Roosters bandmates, singer Jay Ferguson and bassist Mark Andes. The three of them decided to form a new band with Ed Cassidy and keyboardist John Locke. Both Cassidy and Locke had played in jazz bands, and the new band, Spirit, incorporated both rock and jazz elements into their sound. Most of the songs of the band's 1968 debut album were written by Ferguson, who tended to favor a softer sound on tracks like Girl In Your Eye. On later albums Randy California would take a greater share in the songwriting, eventually becoming the de facto leader of Spirit following the departure of Ferguson and Andes to form Jo Jo Gunne.
Artist: Rolling Stones
Title: No Expectations
Source: LP: Beggar's Banquet
After the heavy dose of studio effects on Their Satanic Majesties Request, the Rolling Stones took a back-to-basics approach for their next album, Beggar's Banquet, the first to be produced by Jimmy Miller (who had previously worked with Steve Winwood in Traffic and the Spencer Davis Group). No Expectations, the second track on the album, uses minimal instrumentation and places a greater emphasis on Mick Jagger's vocals and Brian Jones's slide guitar work. Sadly, it was to be Jones's last album as a member of the Rolling Stones, as heavy drug use was already taking its toll (and would soon take his life as well).
Artist: Human Beinz
Title: April 15th
Source: British import CD: Ah Feel Like Ahcid (originally released in US on LP: Evolutions)
Writer(s): Belley/De Azevedo
Label: Zonophone (original label: Capitol)
The Human Beinz started out in Youngstown, Ohio as the Premiers in 1964, but changed their name to the Human Beingz in 1966. After a few moderately successful singles on various regional labels (including a cover of Van Morrison's Gloria that predates the hit Shadows Of Knight version), the group signed to Capitol Records in 1967. In September of that year they released a cover of the Isley Brothers' Nobody But Me that became their only top 40 hit. Unfortunately, their name was misspelled on the label, and since the record was a hit, the band was stuck with the new spelling. By the time the group disbanded they had released several more singles (including two that hit the #1 spot in Japan), as well as two LPs, for Capitol. The second of these, Evolutions, was the more psychedelic of the two. Although the group was known mainly for its tight arrangements of cover songs, they did experiment a bit on Evolutions, particularly on April 15th, a seven minute free-form track co-written by guitarist/vocalist Dick Belley.
Artist: West Coast Pop Art Experimental Band
Title: Smell of Incense
Source: LP: Volume II
One of the commercially strongest songs on the second West Coast Pop Art Experimental Band album for Reprise was Smell of Incense. The length of the track, however (over five minutes), meant it would never get airplay on AM radio, although England Dan Seals and John Ford Coley took the song to the # 56 spot on the charts while still in high school in 1968 with their band Southwest F.O.B.
Artist: Captain Beefheart And His Magic Band
Title: Abba Zaba
Source: 45 RPM single (originally issued as B side and included on LP: Safe As Milk)
Writer(s): Don Van Vliet
After an aborted recording career with A&M Records, future avant-garde rock superstar Captain Beefheart (Don Van Vliet) signed a contract with the newly formed Buddah record label. The first record ever released by Buddah was the album Safe As Milk, which included the single Yellow Brick Road, backed with Abba Zaba. Although the Captain's music was at that time still somewhat blues-based, the album was not a commercial success, and Buddah cut Beefheart and his Magic Band from the label in favor of more pop oriented groups like the 1910 Fruitgum Company and the Ohio Express. Captain Beefheart then moved to yet another fledgling label, Blue Thumb, before finding a more permanent home with his old high school classmate Frank Zappa's Bizarre Records, where he released the classic Trout Mask Replica. More recently, Sundazed has re-released the Buddah single, but with Abba Zaba as the A side.
Title: Heaven And Hell
Source: CD: Nuggets-Classics From The Psychedelic 60s (originally released as 45 RPM single)
Label: Rhino (original US label: United Artists)
Throughout the mid-60s Australia's most popular band was a group of immigrants calling themselves the Easybeats. Often referred to as the "Australian Beatles", their early material sounded like slightly dated British Beat music (Australia had a reputation for cultural lag, and besides, half the members were English). By late 1966 guitarist Harry Vanda (one of the two Dutch members of the group) had learned enough English to be able to replace vocalist Stevie Wright as George Young's writing partner. The new team was much more adventurous in their compositions than the Wright/Young team had been, and were responsible for the band's first international hit, Friday On My Mind. By then the Easybeats had relocated to England, and continued to produce fine singles such as Heaven And Hell.
Artist: Barry McGuire
Title: Eve of Destruction
Source: CD: Songs Of Protest (originally released as 45 RPM single)
Writer: P.F. Sloan
Label: Rhino (original label: Dunhill)
P.F. Sloan had already established a reputation for writing songs that captured the anger of youth by the time he wrote Eve Of Destruction, which Barry McGuire took into the top 10 in 1965. It would be McGuire's only major hit, and represented folk-rock at the peak of its popularity.
Artist: Napoleon XIV
Title: They're Coming To Take Me Away, Ha-Ha!
Source: 45 RPM single
Writer(s): Napoleon XIV
Label: Warner Brothers
The less said about this, the better. The B side of this record, incidentally, is the reverse of the A side, right down to the printed information on the label.
Artist: Dose Hermanos
Source: CD: Persistence Of Memory
Label: Blotter Brothers Publishing
Once upon a time, in 1968, the Grateful Dead added their first new member, an experimental keyboardist named Tom Constantin. TC, as he was known, mostly worked with the band on studio tracks, particularly on the albums Aoxomoxoa and Anthem Of The Sun. Primarily a pianist, he had difficulty making himself heard during live performances, which required him to play the organ rather than drag a piano along to gigs. After the band's infamous New Orleans drug bust in 1970, TC departed the Grateful Dead as a full-time member, although he remained close to band members Jerry Garcia and Phil Lesh. Over fifteen years (and two or three keyboardists) later, the Dead welcomed sound technician Bob Bralove to the family. Bralove, who is a keyboardist specializing in synthesizers, introduced the band to midi technology, and remained with the group until the death of Jerry Garcia in 1995. Not long after that Bralove and TC began performing together as Dose Hermanos, a duo based almost entirely on improvisation. Their latest effort is Persistence Of Memory, released in 2022. Desire is probably the most structured track on the album, as well as being the only piece with vocals (provided by Bralove).
Artist: Crawling Walls
Title: Inner Limits
Source: LP: Inner Limits
Writer(s): Bob Fountain
The first band to record at Albuquerque's Bottom Line Studios was the Crawling Walls, led by vocalist/keyboardist Bob Fountain (using a vintage Vox organ) and featuring guitarist Larry Otis, formerly of the Philisteens, along with bassist Nancy Martinez and drummer Richard Perez. One of the first 80s bands to truly emulate the classic 60s West Coast psychedelic sound (as defined by bands like the Seeds), the Crawling Walls released one LP, Inner Limits, in 1985 on the local Voxx label. The album was also reissued in France on the Lolita label, where it became a cult favorite.
Artist: Liquid Scene
Title: Hey Moondog (See The God Of Odin Come)
Source: CD: Revolutions
Writer(s): Becki DiGregario
This week's Advanced Psych segment features a blast from the past, so to speak: Hey Moondog (See The God Of Odin Come) was played on our very first Advanced Psych segment back in April of 2015. The tune is from an album called Revolutions by Liquid Scene, a San Francisco area band led by Bodhi (aka Becki diGregorio), a multi-instrumentalist (check out the sitar work) who writes and sings lead vocals on all the band's material. My only question is: when's the next album going to come out?
Title: Good Morning Good Morning/Sgt. Pepper's Lonely Hearts Club Band (Reprise)/A Day In The Life
Source: CD: Sgt. Pepper's Lonely Hearts Club Band
Label: Parlophone (original US label: Capitol)
One of the great accidents of record production was the splice that turned the chicken at the end of Good Morning Good Morning into a guitar, starting off Sgt. Pepper's Lonely Hearts Club Band (Reprise) and ultimately leading into A Day In The Life, with it's slowly dissolving orchestral chord that brings the number one album of 1967 to a close.
Title: Jack Orion
Source: European import CD: Cruel Sister
Writer(s): Trad., arr. Pentangle
Label: Castle (original label: Reprise)
The showpiece of the 1970 Pentangle album Cruel Sister was this 18 1/2 minute version of the old English folk song Jack Orion. Done in a theme and variations type of format favored by classical composers, this song was first recorded by Pentangle member Bert Jansch on a solo LP.
Title: See See Rider
Source: CD: The Best Of Eric Burdon And The Animals 1966-1968 (originally released on LP: Animalization and as 45 RPM single)
Writer(s): Ma Rainey
Label: Polydor (original label: M-G-M)
One of the last singles released by the original incarnation of the Animals (and the first to use the name Eric Burdon And The Animals on the label), See See Rider traces its roots back to the 1920s, when it was first recorded by Ma Rainey. The Animals version is considerably faster than most other recordings of the song, and includes a signature opening rift by organist Dave Rowberry (who had replaced founder Alan Price prior to the recording of the Animalization album that the song first appeared on) that is unique to the Animals' take on the tune.